Si les Poésies de l’époque des Thang (1862) de Hervey-Saint-Denys est apprécié des savants et des poètes, le Livre de Jade (1867) de Judith Gautier touche les non-spécialistes et diffuse la poésie chinoise en Occident. Regardé du point de vue de la poésie classique chinoise, le Livre de Jade porte plusieurs transformations : le changement du lyrisme à la narration, la perte inévitable des images et des formes poétiques classiques chinoises. Considéré du point de vue de la poésie française du XIXème siècle, le Livre de Jade porte les grands thèmes lyriques du romantisme et manifeste les récents développements du Parnasse : son enthousiasme pour le poème en prose et son goût pour la peinture. A la fin nous prendrons à la fois le point de vue de la poésie classique chinoise et celui de la poésie romantique française. Bien que le Livre de Jade possède deux caractéristiques communes à ces deux poésies, nous n’y trouvons pas de point de rencontre idéal. Tant de différences par rapport aux poèmes originaux justifient les réticences, depuis son apparition, à considérer Le Livre de Jade comme une traduction. Nous nous proposons de considérer ce livre du point de vue de la première rencontre poétique entre la France et la Chine. A travers cette rencontre, ces deux poésies se renvoient leur image comme un miroir l’une de l’autre et, ce faisant, leur fait découvrir ce qu’elles ne voyaient pas de leur propre culture. / If Hervey-Saint-Denys’s Poésies de l’époque des Thang (1862) have touched French sinologists and men of letters, the Judith Gautier’s Livre de Jade (1867) properly initiated classical Chinese poetry into the vision of the Western reader. Seen from the perspective of classical Chinese poetry, Poésies de l’époque des Thang can be taken as a reference for the Livre de Jade about what scholars and poets have in common when translating poetry. This demonstrates the influence and limitation that the Chinese and French languages, cultures, and literary traditions exert on poetic translation. Examined from the perspective of the 19th-century French poetry on the other hand, the Livre de Jade possesses qualities of romantic themes, but it also bears Parnassian imprints in its imitation of the newly emerging prose poetry and its transplantation of ideas of painting. Besides, in analyzing the two obvious features of the Livre de Jade, namely its abundant metaphors and the omnipresence of nature, this thesis juxtaposes French romantic poetry keen on figures of speech, especially metaphor, with classical Chinese poetry immersed in its tradition of bi-xing. The above analysis reveals that the Livre de Jade is by no means translation in the strict sense of the word. However we might regard it as the first encounter between Chinese and French poetry which enables them to reflect and rediscover each other before they finally merge into one.

蕭淳鏵. / 呈交日期: 一九九八年十二月. / 論文(博士)--香港中文大學, 1999. / 參考文獻 (p. 300-314) / 中英文摘要. / Cheng jiao ri qi: Yi jiu jiu ba nian shi er yue. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Xiao Chunhua. / Lun wen (Bo shi)--Xianggang Zhong wen da xue, 1999. / Can kao wen xian (p. 300-314) / Zhong Ying wen zhai yao.

Bunkyo Hifuron consists of six chapters, namely 'Heaven', 'Earth', 'East', 'West', 'South', and 'North'. The core part of 'East' is twenty-nine kinds of Dui (couplets), in which Kukai quoted and edited different theories on Dui by early Chinese scholars so that the reader could understand how to use each kind of Dui. Since Dui is a common rhetorical form in Chinese literature, Kukai's instructive information is of great use to scholars. Apart from textual criticism, rhetorical research has been conducted on the materials. However, no comprehensive research has ever been done on the linguistic concepts that underlie twenty-nine kinds of Dui in Bunkyo Hifuron. Therefore, this study will be the first attempt of its kind to address these problems. / Bunkyo Hifuron, is the work by a Japanese Buddhist monk, Kukai (774-835), who studied Buddhism in China. It is an important writing both in the history of Japanese literature and in the study of Chinese literature. In this work, Kukai edited the materials he obtained during his study in China. Some of the original texts quoted in Bunkyo Hifuron are already lost in China, which makes this work even more valuable for textual criticism. It has thus attracted many scholars' attention in their attempts to investigate the poetics and the prosodic techniques in Tang [Special character omitted] and pre-Tang texts. / This thesis is divided into five chapters: the first chapter is the preface, in which the purpose and methodology of this research are explained; in the second chapter, a general account is given of the structure of each kind of Dui; the third chapter analyzes the linguistic concepts underlying the twenty-nine kinds of Dui; the fourth chapter attempts to account for the systematic structure in the twenty-nine kinds of Dui; and the last part is the conclusion. / 文映霞. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: 2022. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 364-379). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Wen Yingxia.

嚴宇樂. / 論文(碩士) -- 香港中文大學硏究院中國語言及文學部, 1997. / 參考文獻: leaves 1-8 (3rd group) / Yan Yuyue. / 提要 / Chapter 第一章、 --- 緒論 --- p.1 / Chapter 1. --- 有關選本的問題 --- p.1 / Chapter 2. --- 「重建傳統」槪念簡析 --- p.3 / Chapter 3. --- 重建詩歌傳統與陸氏編選《詩鏡》的宗旨 --- p.9 / Chapter 第二章、 --- 陸時雍詩論之時代背景 --- p.14 / Chapter 1. --- 歷史背景 --- p.14 / Chapter 1.1 --- 社會背景 --- p.14 / Chapter 1.2 --- 思想背景 --- p.18 / Chapter 2. --- 文學史背景 --- p.20 / Chapter 2.1 --- 明代詩壇槪況 --- p.20 / Chapter 2.2 --- 明詩創作之取徑 --- p.26 / Chapter 2.3 --- 明人對歷代詩總集之選編與刊印 --- p.32 / Chapter 第三章、 --- 陸時雍生平和著述 --- p.36 / Chapter 1. --- 陸時雍生平及交遊 --- p.36 / Chapter 2. --- 陸時雍的著述 --- p.40 / Chapter 2.1 --- 陸時雍著述簡介 --- p.40 / Chapter 2.2 --- 《詩鏡》槪說 --- p.43 / Chapter 2.2.1 --- 解題 --- p.43 / Chapter 2.2.2 --- 體例 --- p.45 / Chapter 2.2.3 --- 底本 --- p.47 / Chapter 3. --- 前人對陸時雍之硏究與本文硏究方法 --- p.48 / Chapter 3.1 --- 前人硏究陸時雍槪況 --- p.48 / Chapter 3.2 --- 本論文之硏究方法 --- p.51 / Chapter 第四章、 --- 陸時雍之基本詩論 --- p.53 / Chapter 1. --- 總綱：情生於文，文生於情 --- p.53 / Chapter 2. --- 情 --- p.62 / Chapter 2.1 --- 前代與明代之緣情說 --- p.62 / Chapter 2.2 --- 陸氏的情感論 --- p.65 / Chapter 2.2.1 --- 性情之辨 --- p.65 / Chapter 2.2.2 --- 情意之辨 --- p.67 / Chapter 2.2.3 --- 情之生成：感興而成、緣境而生 --- p.74 / Chapter 2.2.4 --- 情、境關係 --- p.78 / Chapter 2.2.5 --- 真情實境 --- p.83 / Chapter 2.2.6 --- 真：率性，當情，稱物 --- p.92 / Chapter 2.2.7 --- 人情、物情感通 --- p.94 / Chapter 2.2.8 --- 詩可以觀 --- p.96 / Chapter 3. --- 韻 --- p.97 / Chapter 3.1 --- 「有餘意之謂韻」與言意之辨 --- p.98 / Chapter 3.2 --- 形器與超形器 --- p.103 / Chapter 3.3 --- 韻與其他範疇 --- p.109 / Chapter 第五章、 --- 陸時雍之批評實踐（上） --- p.113 / Chapter 1. --- 通代批評 --- p.114 / Chapter 1.1 --- 一代詩有一代之特色 --- p.114 / Chapter 1.2 --- 雅衰艷盛與踵事增華 --- p.115 / Chapter 2. --- 斷代批評 --- p.118 / Chapter 2.1 --- 先秦 --- p.121 / Chapter 2.1.1 --- 詩騷之辨 --- p.122 / Chapter 2.1.2 --- 《詩經》 --- p.126 / Chapter 2.1.3 --- 楚辭 --- p.131 / Chapter 2.1.4 --- 《詩》《騷》與漢魏文學 --- p.135 / Chapter 2.2 --- 漢詩 --- p.136 / Chapter 2.3 --- 魏詩 --- p.141 / Chapter 2.4 --- 晉詩 --- p.146 / Chapter 2.5 --- 南朝宋詩 --- p.151 / Chapter 2.6 --- 齊詩 --- p.154 / Chapter 2.7 --- 梁詩 --- p.156 / Chapter 2.8 --- 陳詩 --- p.161 / Chapter 2.9 --- 隋詩 --- p.162 / Chapter 2.10 --- 六朝與唐之辨 --- p.163 / Chapter 2.11 --- 初唐 --- p.173 / Chapter 2.12 --- 盛唐 --- p.182 / Chapter 2.13 --- 中唐 --- p.186 / Chapter 2.14 --- 晚唐 --- p.198 / Chapter 2.15 --- 宋 --- p.203 / Chapter 第六章、 --- 陸時雍之批評實踐（下） --- p.209 / Chapter 1. --- 作者批評 --- p.209 / Chapter 1.1 --- 建安詩人：三曹、王粲、劉楨 --- p.209 / Chapter 1.2 --- 正始詩人：嵇康、阮籍 --- p.217 / Chapter 1.3 --- 西晉詩人：傅玄 --- p.220 / Chapter 1.4 --- 晉宋之際詩人：陶謝 --- p.223 / Chapter 1.5 --- 齊梁詩人：謝眺到梁武帝 --- p.241 / Chapter 1.6 --- 南梁詩人：何遜 --- p.246 / Chapter 1.7 --- 初唐詩人：四傑、陳子昂、沈宋 --- p.248 / Chapter 1.8 --- 盛唐詩人：李白、杜甫、王維 --- p.263 / Chapter 1.9 --- 中唐詩人：劉長卿、李益、韋應物、柳宗元 --- p.283 / Chapter 1.10 --- 晚唐詩人：溫李 --- p.293 / Chapter 第七章、 --- 結論一一陸氏詩論的意義與得失 --- p.301 / 參考書目

No description available.

王穎. / "2010年12月". / "2010 nian 12 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leave 108-117). / Abstract in Chinese and English. / Wang Ying. / 緒論 --- p.1 / 硏究目的 --- p.1 / 海內外硏究回顧 --- p.3 / 本文硏究方法 --- p.9 / Chapter 第一章： --- 「情志」觀釋義 --- p.12 / Chapter 一、 --- 劉勰言詩之「志」 --- p.13 / Chapter 二、 --- 劉勰言詩之「情」 --- p.21 / 小結 --- p.30 / Chapter 第二章： --- 「情志」觀與詩歌史的建構 --- p.33 / 《辨騷》立「變」之標準 --- p.34 / Chapter 一、 --- 上古六朝 --- p.35 / Chapter 二、 --- 楚漢 --- p.37 / Chapter 三、 --- 魏晉 --- p.39 / Chapter 四、 --- 宋齊 --- p.48 / 劉勰詩歌史的「情志」與「變」 --- p.49 / Chapter 第三章： --- 「情志」觀與詩歌創作 --- p.52 / Chapter 一 . --- 物與情 --- p.52 / Chapter 二 . --- 氣與志 --- p.60 / Chapter 三. --- 情與志 --- p.68 / 小結 --- p.77 / Chapter 第四章： --- 「情志」觀與詩歌評鑒 --- p.79 / Chapter 一、 --- "志在山水,琴表其情" --- p.80 / Chapter 二、 --- 形之筆端，理將焉匿 --- p.83 / Chapter 三、 --- "情動辭發,披文入情" --- p.92 / 小結 --- p.97 / 結論 --- p.99 / 「情志」觀之價値 --- p.99 / 「情志」觀之影響略述 --- p.102 / 小結 --- p.107 / 參考資料 --- p.108

none

Ce travail de recherche porte sur la poésie française moderne et son influence sur la nouvelle poésie chinoise au cours de la première vague d’introduction et d’interprétation des littératures occidentales en Chine dans les années 1920-1930. Nous cherchons à montrer comment les « Trois Grâces » de la poésie française moderne : Baudelaire, Rimbaud et Lautréamont ont été introduits en Chine et quelle est leur influence sur l’élaboration de la nouvelle poésie chinoise. Ainsi, nous montrons d’abord comment expriment Baudelaire, Rimbaud et Lautréamont par leur poésie le culte du moi, le culte du Beau et le jeu de dépersonnalisation et de pluralisation du moi. Nous examinons ensuite l’influence des littératures occidentales sur la construction de la nouvelle littérature chinoise dans les années 1920 ; et l’introduction et l’interprétation de la poésie symboliste française et son influence au niveau théorique aussi bien que pratique sur la nouvelle poésie chinoise et les poètes dits symbolistes chinois : Li Jinfa, Mu Mutian, Wang Duqing, Dai Wangshu. Enfin, nous montrons le cas Lautréamont en Chine, son absence dans les années 1920-1930 et l’état de la recherche lautréamontienne en Chine dans les trois dernières décennies. Notre thèse conduit donc à montrer que les « Trois Grâces » de la Poésie nouvelle ne jouissent pas tous du même prestige auprès du monde poétique chinois dans les années 1920-1930 et que son interprétation de la poésie française moderne n’est pas une adoption de toute une attitude de création poétique de celle-ci, mais une transformation du dynamisme poétique imposé de l’extérieur en dynamisme créateur interne de la poésie chinoise. Elle correspond aux intentions claires et guidées par le système de valeurs littéraires et morales des traducteurs-interprétateurs chinois des différentes époques. / This piece of research concerns the modern French poetry and its impact on the new Chinese poetry in the first period of introduction and interpretation of modern Western literature in the 1920s and early 1930s in China. We seek to demonstrate how the “Trois Grâces” of the modern French poetry: Baudelaire, Rimbaud and Lautréamont were introduced in China and what is their influence on the development of the new Chinese poetry. Thus, we will show first how Baudelaire, Rimbaud and Lautréamont express the “culte du moi” and the “culte du Beau” by their poetry and their game of depersonalization and pluralisation of the self. Next, we shall examine the influence of Western literature on the construction of the new Chinese literature in the 1920s; the introduction and interpretation of the French symbolist poetry and its influence on the theoretical level as well as practical on the new Chinese poetry and Chinese Symbolist poets: Li Jinfa, Mu Mutian, Wang Duqing and Dai Wangshu. Finally, we shall show the case of Lautréamont in China, his absence in the years 1920-1930 and the state of “Lautréamontienne” research in China in the last three decades. Our thesis concludes therefore by showing the “Trois Grâces” of the new Poetry do not have all the same prestige with the Chinese poetic world in the years 1920-1930 and its interpretation of modern French poetry does not lead to adoption of a whole attitude of poetic creation of the modern French poetry, but to a transformation from a poetic dynamism imposed by outside impact to a intern creative dynamism of Chinese poetry, corresponding to the clear intentions guided by the system of literary and moral value of Chinese literary translators and interpreters of different ages.

No description available.

No description available.